It is interdisciplinary teams with complex compositions that develop and realise exhibitions. Groenlandbasel directs a network of specialists and with Spaces and Stories enables an insight into the cooperation and the dedicated efforts of a wide range of involved parties. Exhibition thinkers and exhibition makers express themselves alongside each other in essays, shorter highlights and interviews. The texts are accompanied by a diverse selection of projects by Groenlandbasel: museum developments, special and permanent exhibitions, architecture, as well as indoor and outdoor installations. With text contributions from: Dominic Huber, Director Rimini Protokoll, Zurich; Nina Gorgus, Curator Historical Museum Frankfurt; Ramon De Marco, Sound Designer Idee und Klang, Basel; Daniel Tyradellis, freelance curator, Berlin; Beat Hachler, Director Alpine Museum of Switzerland, Bern; Sibylle Lichtensteiger, Director Stapferhaus Lenzburg. Text in English and German.

Two generations after the exultation of Independence and the concurrent horrors of Partition, contemporary artists mine the uneasy history of photography in India as a means to challenge outmoded narratives, share hidden stories, and make personal connections with tradition. Taking history into their own hands, figures such as Nandan Ghiya, Gauri Gill, Jitish Kallat, Annu Palakunnathu Matthew, Madhuban Mitra and Manas Bhattacharya, Pushpamala N., Raqs Media Collective, Vivan Sundaram, and Surekha draw on a diverse range of sources, from ethnographic photographs made at the height of the British occupation to hand-painted studio portraits and stills from Bollywood movies. Weighing the influence of the global against the draw of the local, these artists embrace tradition and innovation as covalent rather than competitive forces. Marking the US debut of several of the featured artists, Postdate: Photography and Inherited History in India deepens our understanding of the legacy of colonialism and celebrates new and socially engaged modes of image-making in South Asia. It is published in association with the San Jose Museum of Art.

Madness deranges, throws us off balance, and makes us lose our footing. Yet some writers claim that madness is an enlargement of normality. But how can that which we cannot control belong to 'normality'? And what is normality? For more than 30 years, the permanent display on psychiatry has been the very heart of the Museum Dr. Guislain in Ghent. The history of psychiatry is the inspiration for new thematic exhibitions every year, in which the museum seeks to dislodge entrenched views and deep-rooted stigmas and reframe them in the context of today. In October 2019, this permanent display received a make-over and has been presented under the title 'Unhinged', in which the Museum Dr. Guislain offers a fresh look at its own history as a museum. The richly illustrated publication explores the boundaries of the traditional and goes in search of the sane in the insane. It provides an overview of psychiatry on the basis of five contemporary themes that enter into dialogue with each other: 'power and powerlessness', 'body and mind', 'architecture', 'classification' and 'imagination'. Historical documents are also put side by side with contemporary art, creating a dynamic interpretation. This new approach reflects today's 'crazy' society, in which, happily, increasing attention is being paid to psychological vulnerability, but in which mental health care is also facing new challenges more than ever.

These extraordinary works by Cecily Brown, of wrecked ships, frantic and prone bodies, carefully illuminate the tensions between the past and the present. Taking inspiration from Delacroix's shipwreck paintings, as well as one of the most feted paintings in the world; Gericault's, The Raft of the Medusa, 1818-19. In her introduction to the book, Whitworth curator Dr Samantha Lackey writes, 'These extraordinary works by Cecily Brown, of wrecked ships, frantic and prone bodies, carefully illuminate the tensions between the past and the present. Of course, these drawings also push to the forefront of our minds the images we see every day on our screens, of shipwrecked refugees attempting, and failing, to make their own sea voyages.' The exhibition 'Cecily Brown: Shipwreck Drawings' was shown at The Whitworth (University of Manchester) from 12 November 2017 to 15 April 2018.

This beautiful publication accompanies an exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720–1778). It is the most important study of Piranesi’s drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. The Morgan Library& Museum holds what is arguably the largest and most important collection of these works, more than 100 drawings that include early architectural caprices, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. These works form the core of the book, which will be published on the occasion of the Morgan’s Spring 2023 exhibition of Piranesi drawings. More than merely an exhibition catalogue or a study of the Morgan’s Piranesi holdings, however, this publication is a monograph that offers a complete survey of Piranesi’s work as a draftsman. It includes discussion of Piranesi’s drawings in public and private collections worldwide, with particular attention paid to the large surviving groups of drawings in New York, Berlin, Hamburg, and London; it also puts the large newly discovered cache of Piranesi material in Karlsruhe in context. The most comprehensive study of Piranesi’s drawings to appear in more than a generation, the book includes more than 200 illustrations, and while focused on the drawings it offers insights on Piranesi’s print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer. In sum, the present work offers a new account of Piranesi’s life and work, based on the evidence of his drawings.

A monumental new work of scholarship on a luminary of twentieth-century art "I'm not sure I have ever seen a catalogue raisonne as beautiful, as magnificent, as the new publication on the oeuvre of the great American sculptor David Smith."-Michael Fried, Bookforum Embracing factory methods of construction, building on the legacy of cubism, and turning his back on European carving and casting traditions, David Smith (1906-1965) transformed postwar sculpture. His body of work, contemporary with the New York School in painting, and his pioneering placement of sculptures in a natural setting are foundational for present-day sculpture and installation art. This three-volume boxed set comprehensively details the entirety of Smith's sculptural oeuvre. It is now the definitive catalogue raisonne and supplants the one constructed by Rosalind E. Krauss in 1977. With Christopher Lyon as editor and Susan J. Cooke as research editor, the volumes also contain a foreword by Rebecca and Candida Smith; essays by Michael Brenson, Sarah Hamill, Marc-Christian Roussel, and Christopher Lyon; and a chronology by Tracee Ng. Reproductions of documents and images, including many photographs, paintings, drawings, and sketches by the artist offer insights into Smith's methods and creative thought. Handsomely designed and illustrated with fine color reproductions, this catalogue raisonne is both a sumptuous object and an essential scholarly resource. Distributed for the Estate of David Smith

Born like Venus on the half shell from the centuries-long tradition of the nude in painting, the nude first appeared as a subject matter in photography with the introduction of the medium itself, between 1837 and 1840, and has continued as an ever-evolving theme through changing technical developments and cultural mores to the present day. This volume surveys the subject of nudity from the earliest surviving photographs of Greek and Roman sculpture through studies of living nude models for aesthetic or scientific purposes to the burgeoning practice of exploring the human body as pure form. The seventy-eight works, selected from the extensive collection of the J. Paul Getty Museum and further contextualized here in the essay Masterworks of the Nude, span the entire arc of the history of photography in a manner that is both fresh and illuminating. Among the sixty-four photographers included are nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and Thomas Eakins; early-twentieth-century artists Man Ray, Alfred Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill Brandt, Harry Callahan, and Minor White; late-twentieth-century image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and contemporary artists Chuck Close, Timothy Greenfield-Sanders, and Mona Kuhn.

A panoramic look at art in America in the second half of the twentieth century, through the eyes of the visionary curator who helped shape it. An innovative, iconoclastic curator of contemporary art, Walter Hopps founded his first gallery in L.A. at the age of twenty-one. At twenty-four, he opened the Ferus Gallery with then-unknown artist Edward Kienholz, where he turned the spotlight on a new generation of West Coast artists. Ferus was also the first gallery ever to show Andy Warhol's Campbell's Soup Cans and was shut down by the L.A. vice squad for a show of Wallace Berman's edgy art. At the Pasadena Art Museum in the sixties, Hopps mounted the first museum retrospectives of Marcel Duchamp and Joseph Cornell and the first museum exhibition of Pop Art--before it was even known as Pop Art. In 1967, when Hopps became the director of Washington's Corcoran Gallery of Art at age thirty-four, the New York Times hailed him as "the most gifted museum man on the West Coast (and, in the field of contemporary art, possibly in the nation)." He was also arguably the most unpredictable, an eccentric genius who was chronically late. (His staff at the Corcoran had a button made that said WALTER HOPPS WILL BE HERE IN TWENTY MINUTES.) Erratic in his work habits, he was never erratic in his commitment to art. Hopps died in 2005, after decades at the Menil Collection of art in Houston for which he was the founding director. A few years before that, he began work on this book. With an introduction by legendary Pop artist Ed Ruscha, The Dream Colony is a vivid, personal, surprising, irreverent, and enlightening account of his life and of some of the greatest artistic minds of the twentieth century.

Accrochage brings together about seventy works from the Pinault Collection produced by thirty artists since the 1970s. The works-never shown before in the Venetian venues of the collection-are the outcome of minimal gestures and artistic research focused on the theme of the void. Fabio Mauri, Pier Paolo Calzolari, Sol LeWitt, Charles Ray, Roman Opalka, Bernd Lohaus, Thomas Schutte, Goshka Macuga, and Niele Toroni are only some of the artists taking part in a show that becomes a place of meeting, rela- tions, questions, and comparison between different ways of practicing art.

"Pain is whatever the experiencing person says it is, existing whenever he says it does." - Margo McCAaffery, 1968. The catalogue Beyond the Pain, published for the exhibition of the same name at Galerie Stadt Sindelfingen, addresses approaches to conquering pain within the visual arts. Twelve renowned national and international artists demonstrate how negative physical and psychological experiences can be transformed into a positive attitude to life, and contributions from academics complement and discuss the overcoming of pain. The reception of art, just like the experience of pain, is as much informed by cultural-societal norms as it is a profoundly individual experience; to this end contemporary art is connected to a universal theme of humanity. Text in English and German.

2018 National Jewish Book Award Finalist Maira Kalman, the author of the bestsellers The Principles of Uncertainty and The Elements of Style, and Alex Kalman, the designer, curator, writer, and founder of Mmuseumm, combine their talents in this captivating family memoir, a creative blend of narrative and striking visuals that is a paean to an exceptional woman and a celebration of individuality, personal expression, and the art of living authentically. In the early 1950s, Jewish emigre Sara Berman arrived in the Bronx with her husband and two young daughters When the children were grown, she and her husband returned to Israel, but Sara did not stay for long. In the late 1960s, at age sixty, she left her husband after thirty-eight years of marriage. One night, she packed a single suitcase and returned alone to New York City, moving intoa studio apartment in Greenwich Village near her family. In her new home, Sara began discovering new things and establishing new rituals, from watching Jeopardy each night at 7:00 to eating pizza at the Museum of Modern Art's cafeteria every Wednesday. She also began discarding the unnecessary, according to the Kalmans: "in a burst of personal expression, she decided to wear only white." Sara kept her belongings in an extraordinarily clean and organized closet. Filled with elegant, minimalist, heavily starched, impeccably pressed and folded all-white clothing, including socks and undergarments, as well as carefully selected objects-from a potato grater to her signature perfume, Chanel No.19-the space was sublime. Upon her death in 2004, her family decided to preserve its pristine contents, hoping to find a way to exhibit them one day. In 2015, the Mmuseumm, a new type of museum located in a series of unexpected locations founded and curated by Sara's grandson, Alex Kalman, recreated the space in a popular exhibit-Sara Berman's Closet-in Tribeca. The installation eventually moved to the Metropolitan Museum of Art. The show will run at the Skirball Center in Los Angeles from December 4, 2018 to March 10, 2019; it will open again about a month later at the National Museum of American Jewish History from April 5, 2019 to September 1, 2019. Inspired by the exhibit, this spectacular illustrated memoir, packed with family photographs, exclusive images, and Maira Kalman's distinctive paintings, is an ode to Sara's life, freedom, and re-invention. Sara Berman's Closet is an indelible portrait of the human experience-overcoming hardship, taking risks, experiencing joy, enduring loss. It is also a reminder of the significance of the seemingly insignificant moments in our lives-the moments we take for granted that may turn out to be the sweetest. Filled with a daughter and grandson's wry and touching observations conveyed in Maira's signature script, Sara Berman's Closest is a beautiful, loving tribute to one woman's indomitable spirit.

Accompanying an exhibition at the Staatliche Kunstsammlungen Dresden, this publication presents the glass swallow works Perched, created by the artist Feleksan Onar. While drawing on sources from her personal history as well as collective memory, Feleksan Onar's works in glass deal with notions of identity, constructed narratives, historical relations and impacts of politics on society. In her recent project Perched, her story-telling in glass reflects on the Syrian refugee situation. Triggered by witnessing the helpless refugees strolling around the streets of Istanbul, after being forced to leave their homelands, Perched has been exhibited in the Pergamon Museum, Berlin, the New Jersey Visual Arts Center and the Victoria& Albert Museum, London. The work was interpreted as "a visceral expression of the fact that in spite of differences of religion, culture, and individual histories, what we all want most is to be in the place we call home," by the art critic Lisa Morrow. A reading of Louis de Bernieres' novel Birds Without Wings was an inspiration for Onar to create the series. Glass works, inspired by a book, create its own history over time and turn into a book again. This book marks the most comprehensive publication on Perched to date. The result here is a complementary structure addressing the aesthetic and political concepts inherent in Feleksan Onar's art. Contiguity and fragility are the core of this project and provides the form for this book. Newly commissioned essays initiate sections that engage particular aspects of Onar's work. Renowned author Louis de Bernieres contributes a short story; Prof. Dr. Stefan Weber, Mariam Rosser-Owen and Stefanie Bach propose a reading of Perched through the exhibitions in the Pergamon Museum, the Victoria& Albert Museum and the Staatliche Kunstsammlungen Dresden; and Nadania Idriss questions how is art supposed to foster a culture of peace and muses on being perched. Producing glass art, to use Onar's own words, "not only expresses my past and present, but also my anxieties and expectations for future. Through glass, I speak, breathe and live." This is the story of birds standing together in different places with their various colors and holding a vital crisis in their silence, breath and life.

Based on the seventh instalment of the biennial Renwick Invitational, this striking volume, presents the work of Steven Young Lee, Kristen Morgin, Jennifer Trask, and Norwood Viviano. The four selected artists work in a remarkable variety of media including porcelain, raw clay, bone, gold, glass, metal, found objects and mineral pigments. Their visual sensibilities draw on sources ranging from traditional Asian pottery to vintage Americana, and from the romance of the Victorian Era to the algorhythmic precision of the computer. Together, they engage a current fascination in American craft with change, transformation, ruin, and reinvention.

The Jewish Museum Frankfurt presents The Female Side of God, based on numerous objects from cultural history and contemporary works of art. In a close reading of these works, the exhibition catalogue introduces this hardly known and oftentimes even 'suppressed tradition'. Comprehensible descriptions of these visual representations of a female deity, which can be found throughout the centuries, alternate with five essays, resulting from an interdisciplinary symposium of the research association 'Religious Positionings'. A highly topical publication, comprising faith, science, and art. Text in English and German.

Accompanies an exhibition at the Fondation Cartier pour l’art contemparain offering artistic and scientific visions on trees

Omnipresent and essential to life, trees have been underestimated by biologists. But in recent years, they have been the subject of scientific discoveries that have allowed us to see these oldest and largest members of the community of living beings in a new light. Capable of sensory perception, showing complex communication skills, living in symbiosis with many other species and influencing the climate, trees are equipped with unexpected faculties whose discovery confirms what indigenous, traditional and local communities had long acknowledged.

Featuring works by contemporary artists including forest people, scientific imagery, films, photographs and sound installations, the exhibition at the Fondation Cartier pour l’art contemporain, Paris, strives to highlight the beauty, ingenuity and biological richness of trees, allowing us to see and hear these impressive protagonists of the living world that now find themselves also under increasing threat. Through paintings, drawings, photographs, scientific images, maps and texts by specialists, the catalogue published to accompany the exhibition invites the reader to dive into the fascinating and beautiful world of trees.

By 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum's 19th-century history, describes how the young museum's rapid growth in the following decades was driven more by collectors, agents and dealers, through loans, gifts and bequests, than by the combined expertise, acquisitions policies and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe, and imperial expeditions in Asia and Africa. The industrial revolution had created a new social class with the resources to buy from the expanding art market, especially in the decorative arts. Many were touched by a new moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums. Enriching the V&A explores the formative influence on the museum, and on pioneering fields of scholarship, of the V&A's leading Victorian and Edwardian benefactors. It also shares uncomfortable truths about the sources of some objects from the age of empires and shows how the meanings of things can change through the transformation of private property into public museum collections.

Francis La Flesche (1857-1932) lived between two worlds: as an Umonhon (Omaha), he fought for their rights, and as a scholar he researched his own culture. He is regarded as the first indigenous ethnologist of North America and stands representatively for the many indigenous protagonists without whom ethnological collections would never have come into being. We are no longer familiar with most of these individuals, since the focus until today has been on European and North American collectors. Francis La Flesche is an exception: his work provides insights into indigenous agency and their resistance to racism and colonialism as well as their active participation in the trade with objects. The book presents La Flesche's records of the objects, the collection of which he contributed to what is today the Ethnological Museum in Berlin in 1894-an impressive testimony to his successful efforts to preserve the culture of the Omaha for future generations.

Manchester Museum, part of the University of Manchester, has completed its most ambitious transformation in a generation. This beautiful guidebook is a tour and souvenir of the new museum, featuring spectacular objects and stories that inspire curiosity, learning and imagination. It also explores how the museum works to build understanding, empathy and compassion for our world and each other. It is a perfect keepsake for visitors and those wishing to understand more about the museum's extraordinary collections and mission.

Philadelphia is home to two major art institutions, the Philadelphia Museum of Art and the Institute of Contemporary Art. Philadelphia artist Virgil Marti (born 1962) recently curated a show for the ICA of objects chosen from the Philadelphia Museum of Art's collection; "Set Pieces" brings these objects together, shedding light both on the Museum's outstanding collection of objects and on the roots of Marti's own opulent, design-based aesthetic. Texts by I.C.A. Senior Curator Ingrid Schaffner, Philadelphia Museum curator Joseph Risehl, gallerist Lia Gangitano (Participant Inc.) and Philadelphia-based poet Thomas Devaney round out the volume.

The power of Christmas derives from the appeal of its repeated rituals, the presumed antiquity of its traditions, and its ability to adapt to changing cultural conditions. Christmas cards seemed inevitable and ubiquitous, but in recent years the genre has been visibly in decline. It is now evident that the Christmas card was a culturally specific artifact, a distinctive way in which a fundamental human gesture could be expressed within a commercial, materialistic, and rapidly changing society. This stylish book explores the imagery, graphic forms, subject matter, and significance of Christmas cards in their chronological timeframe to reveal an important area of American material culture. There is much to surprise and delight. Distributed for the Bard Graduate Center Exhibition Schedule: Bard Graduate Center (09/28/11-12/30/11)